Good overall condition, with stains on the paper as seen in the photo. This artwork comes from a part of the workshop’s collection that was in a drawing box, see attached photo of others; works are available in my shop featuring abstractions from the 1930s and drawings from the Art Brut period after the 1950s. The artwork is signed at the bottom right with the initials "K. K.". This piece fully fits within the abstract period of Kosnick-Kloss, influenced by her interactions with Parisian avant-garde circles and her artistic affinities with Sonia Delaunay. ⸻ Biography of Jeanne Kosnick-Kloss (1892 – after 1966) Jeanne Kosnick-Kloss, born in 1892, is a Franco-German artist whose work spans several major movements of modern art: abstraction, engaged art, and a freer vein, close to Art Brut, in the later decades of her life. She is also known for her artistic and personal collaboration with Otto Freundlich, a key figure in spiritual abstraction. ⸻ ? Education and early years Few details are known about her initial education, but she was active as early as the 1920s in Paris. She frequented avant-garde circles, where she met Otto Freundlich, a sculptor and theorist of abstraction of German origin, with whom she shared her life and studio. She became an essential collaborator of Freundlich, participating in his work and sharing his ideas on the universality of art and the spirituality of forms. ⸻ ? Abstract period (1920s-1930s) In the 1930s, Kosnick-Kloss developed a rhythmic geometric abstraction, influenced by constructivism, orphism (from Robert and Sonia Delaunay), and color theories. She produced gouaches and drawings where the circle and spiral dominate, evoking cosmic harmony. She was in contact with Sonia Delaunay, with whom she shared a colorist sensitivity and an interest in integrating art into everyday life (clothing, textiles, objects). Although less known, Kosnick-Kloss contributed to this female ecosystem of abstraction, often overshadowed by official history. ⸻ ? Political engagement and exile With the rise of Nazism, Kosnick-Kloss and Freundlich exiled themselves to southern France. Otto Freundlich, of Jewish origin and considered by the Nazis as a representative of "degenerate art," was arrested in 1943 and deported to Majdanek, where he was murdered. Jeanne survived the war and preserved the legacy of their joint work. Her post-war work, more free and intuitive, seems marked by this trauma. ⸻ ? Art Brut / free expression period (1950s-1960s) In the 1950s-60s, Jeanne Kosnick-Kloss adopted a more spontaneous plastic writing, marked by irregular shapes, primitive figures, and personal symbols. This vein aligns her with Art Brut or a form of naive expressionism, in the line of Dubuffet. She continued to pursue a discreet but coherent body of work, affirming a deeply personal aesthetic, on the margins of dominant currents. ⸻ Legacy and recognition Jeanne Kosnick-Kloss remains today an overlooked but significant figure in European abstraction. Her work is inseparable from that of Otto Freundlich, of whom she was the artistic partner and the guardian of his memory after the war. She continues to be rediscovered through exhibitions dedicated to Freundlich or to female abstraction. Type: Pencil Style: 1940 Genre: Abstract Characteristics: On Paper Theme: Abstract